Scoring Intensity

Scoring Intensity It might be very tricky sometimes to find the right level of “musical intensity” on a cue. With inexperienced composers you sometimes get the feeling that the music is too distracting and active (e.g. on dialogue sequences) or too weak on more active...

Balance of the Harp

Balance of the Harp In a real orchestral tutti, there’s hardly any chance for the harp to be heard. The only thing that might have a chance to cut through are quite strong and expansive glissandos, but any figuration etc. gets lost already in a mezzoforte tutti. Most...

Chord Voicings Without Fifth

Chord Voicings Without Fifth When constructing chords, try the difference of leaving out the perfect fifth of the chord and having it in. Due to the fact that the fifth will be quite a strong overtone of the root (=usually the bass note) anyway, it will be present in...

Limits of Balancing Rules

Limits of Balancing Rules Balancing out orchestral “forces” is a lifelong learning process as there are dozens of factors involved that have influence on how sections in the orchestra balance. Not only does the instrument by itself but also its number, the dynamic,...

Small Ensemble Seating

Small Ensemble Seating When recording or overseeing the recording of a small ensemble of musicians, pay attention to a few seating issues. If you’re not depending on a specific seating of the musicians for other reasons, you might want to go for the following option:...